Category Archives: CULTURE

Summary

Astghik A. Babajanyan
The study refers to Armenian Christian relics and especially reliquaries. After legalization of Christian worship ecclesiastical architecture started to flourish with wide impetus, in which the construction of sanctuary-martyria at sites of martyrdom occupies a significant place as relics are an important aspect of the medieval Christian cultural heritage. First of all, the role of relics is important in the organization of holy space of the sanctuary which is comprehended as a monumental reliquary. Later the role of relics increased at such an extent that portable reliquaries were made to keep relics. Their forms became important source of studying the medieval iconography.

Armenian Apostolic church also adopted the tradition of keeping relics in reliquaries. The main forms of reliquaries in Armenia were rectangular boxes, cross shaped, right hand shaped.

A comprehensive research of relics and reliquaries is impossible to introduce with one report that’s why the research is going to be continual. In this article I emphasize on the cult of John the Baptist in Armenia and the geography of spreading of his relics, introducing a unique example of a reliquary which is kept at a special treasury of the St Etchmiadzin cathedral. It was created in Adana in the 14th century and was furbished in 1670.

The uniqueness of this reliquary is in its conformation; the three forms of reliquaries accepted in Armenia – the casket, the cross and the right hand are concentrated in one. As we know, in the medieval period everything had to correspond to canonicity, thus allowing nearly no deviations.

The great interest of John the Baptist’s Reliquary is not only of its form, symbolism, inscription with important information, but it is also a wonderful piece of art, adorned with precious gems, which create harmonic coherence of subtle color shades.

Summary

Emma L. Chookaszian
The art of middle ages is all about dualism. This art is consisted of symbols and elements that have passed a long way of evolution until they became the way we see them in the works of art. The whole dualistic spirit of medieval times is seen in the three headed creatures which can be found in some artworks of the period.

This article contains the study of the images of three-headed creatures in a 13th century manuscript of Armenian Kingdom of Cilicia, which is the Lectionary commissioned by King Hetoum 2nd (Yerevan,Matenadaran collection, No. 979). This is one of the most luxurious and mysterious Armenian manuscripts the examination of which is going to take several stages: theological, iconographical and historical. First of all we have gone through the years of art history and have tried to find the origins of three-headed creatures and the meaning of these specific symbols. Taking into consideration that this manuscript is a Lectionary, the next step was to find the connection of the liturgical texts with the images decorating them. Each of these liturgical texts corresponds to one of the Armenian religious feasts, so our duty was to find the explanation and the meaning of those feasts to be able to get the bridges between the three-headed creatures and the title pages decorated with them. Our study was made with the help of the texts of medieval theologians Thomas Aquinas and Otto of Bamberg who have given the complete explanations of significance of the scenes and feasts that we are interested in. The final observations have revealed that three-headed creatures in King Hetoum 2nd’s Lectionary have the sacrament of fertility and the Saint Trinity that are accomplishing the idea of the feasts to which the title pages of the manuscript are dedicated.

Summary

Gayane H. Arakelyan
Every picture of unequaled master of light and shadow Andranik Kochar represents a photo structure, which is saturated with a combination of light shadows and soft lights. His portraits are so alive, conspicuous, modern and emotional, that they seem to be alive, breathing and living beings. In each photo he revealed the inner world of people of different fields and their way of thinking; the thing he liked to do most of all.

Andranik Kochar immortalized many Armenian great people-actors, sculptors, artists, musicians in his portraits, just like world-wide famous photographer Yousuf Karsh immortalized the most famous people in the world in his photos.

Kochar’s portraits help us to make notion about prominent Armenians. Many of his portraits became symbols.

Summary

Mandana M. Sepasi
Aim of the study is the comparison of woman’s portrait in the paintings of Iranian women or men. The study shows that the pictures of women in men’s works are desirable, descriptive, and figural; whereas women painters are more meaningful, allegoric and fictional; they paint females’ characterizations and implicit and mental meanings as beauty and elegance. But the women paintings are based on female experience and view; women painters try to show main problems of women’s life; however, men without paying attention to these matters present women in imaginary and fantasy atmospheres. The study of women paintings shows that they try to decrease visual views of male standpoint. They resist on becoming the subject of men’ paintings and they use new techniques in paintings to create gaps in male mental effects and functions in culture.

In living memory of the great composer and a unique person

Summary

Lilit. K. Yepremyan
The article is an attempt to newly reconsider the role and the meaning of Edward Mirzoyan in the history of the Armenian music. Here we’ve underlined that he was always finding some extraordinary ways to get beyond the bounds of determinations (form, style, genre, tendency) combining the incompatible and creating new and original quality, which was becoming regularity for the generations. Some particular attention is paid also to the original world-view of Edward Mirzoyan during the formation of the movement of “sixties”. The universality of Komitas became the main and principal tradition of his art, which was also reflected for the first time in Armenian symphonic music.

Dedicated to the 20th anniversary of the liberation of Shushi

Anna G. Asatryan
On May 26, 2012 the evening of the cmposer Ashot Babayan dedicated to the 20th anniversary of the Shushi’s emancipation took place in Alexander Spendiarian Armenian Opera and Ballet National Academic Theatre of Yerevan. The cantata “Empopee” was performed by the chorus and ensemble of the opera theatre directed by Karen Durgaryan. The soloists were Kristine Sahakyan and Georgi Arakelov. The work of A. Babayan is composed of operas, vocal-symphonic, symphonic and chamber compositions, vocal works for voice and instromental ensemble, vocal series by the accompaniment of puiano. The theme of the Artsakh struggle for freedom is always present in his works. His sonata for violoncello and piano (1993) is dedicated to Tatul Krpeyan, and the symphony “Monte” – to blessed memory of Monte Melkonyan (Avo). In 2002, A. Babayan wrote the cantata “The return of Shushi” on the occasion of the 10th anniversary of the liberation of Shushi set to words of Yuri Sahakyan, which was successfully played by State Armenian academic Chorus and State Armenian philharmonic ensemble directed by Hovhannes Chekijyan. In 2012 the composer edits the cantata and renames it “Epopee”. This cantata distinguishes from the other works of A. Babayan: the ocmposer who creates mainly in the genre of avant.gardism here appeals to the classiscal style. The cantata is formed of six parts: “Hello Shushi”, “Lullaby”, “You were calling”, “Attack”, “The song of martyrs”, and “Glory to you…”.

By its artistic merits, ideological content, high level of professionalism and good use of the ensemble and its seperate groups’ timbres, as well as due to the knowledge of timbre dramaturgy and polyphonic way of writing A. Babayan’s cantata “Epopee” is one of bright pages of modern Armenian vocal-symphonic music.

Summary

Yvette N. Tajarian
Antoine Sevruguine lived in the Armenian diaspora in Tehran in Iran. Vasil de Sevruguine, Antoine’s father, studied Oriental languages at the famous Lazarev School in Moscow, after which he entered the Russian civil service, working as a diplomat at the Russian Embassy in Tehran. Vasil de Sevruguine met an untimely end in a riding accident. Achin returned to her hometown of Tbilisi and later moved to the Akuli. Antoine instead opted for a career as an artist, and went to Tbilisi to became a painter. He soon discovered the then fledgling art of photography, studying under the famous Russian photographer Dmitri Ivanovich Yermakov. In 1870s, Antoine and his brothers decided to devote themselves exclusivery to photography and founded a family buisness in Iran. In 1883, Antoine founded his photo studio in the city of Tabriz and then he went to Tehran to open a photo studio on the second floor of a house in Ala ed-Downla street. Thanks to his exceptional skill, Antoine soon became so well-known as a photographer that members of the upper class in Tehran visited his studio to be photographed. Soon his reputation was such that he became official court photographer to Naser ed-Din Shah. With time he was even allowed to photograph the royal harem, so close was his relationship with Naser ed-Din shah, who gave him the title of “Khan” and later the Medal of the Sun and the Lion, (Shirokhorshid). But the found recognition not only at court: his artistic work was honored with medals and awards in international photo exhibitions in Brussels in 1897, and Paris in 1900. In 1933, Antoine “Khan” Sevruguin died of kidney failure in Tehran at the age of 82. He was buried on the Russian cemetery in Tehran in the family grave.

On the occasion of the 100th anniversary of the birth of a prominent opera singer

Summery

Anna G. Asatryan
One of the central figures in 20th century Armenian music, tenor Avag Petrosyan (tenore di forza) was one of the most distinguished representatives of the Soviet-Armenian vocal school. He was a unique and profoundly national artist, a singer and dramatic artist harmonically combined, whose created characters were distinguished by the unification of his amazing vocal and stage presence.

A. Petrosyan became known for the heroic roles he played in Armenian operas:
Saro in A. Tigranyan’s “Anush,” Santur in A. Tigranyan’s “Davit Bek,” Ashugh and Sheikh in A. Spendyaryan’s “Almast,” Karo in A. Babayev’s “Artsvaberd,” Tirit in T. Chukhajyan’s “Arshak III,” Vahan in H. Stepanyan’s “Heroine,” Sos in V. Tigranyan’s “Sos and Varditer,” Seyran in L. Kojayeinatyan’s “Namus.” His roles as Saro and Santur (“Anush,” “Davit Bek”) became the masterpieces in his artistic repertoire.

A. Petrosyan was also a celebrated chamber singer, he was the delicate interpreter of Armenian, Russian and Western European classical songs, and was an unrivalled performer of Armenian traditional and folk songs.

A. Petrosyan presented Armenian musical culture to the cities of the Soviet Union, Moscow, St. Petersburg, Kiev, Tashkend, Tbilisi, Baku and also to the United States, Canada, India and France. Everywhere he went he spread Armenian song and received nationwide acclaim that very few artists have been able to garner.

Summary 

Mikhail A. Kokzhaev
This article is about one of the masterpieces of Armenian operatic art. Aleksander Harutyunyan’s “Sayat-Nova” presents the historical character of Armenian music. The originality is that Sayat-Nova himself was a poet and musician, known as ashugh, meaning a singer who creates love songs (both text and music and presents them to the public). Aleksander Harutyunyan cited some of Sayat-Nova’s songs written in the 17th century in his opera. Even when composing his own music, he displayed the style of the singer in his original music. As a result, unique composition is obtained, in which a synthesis of Armenian monody is conjoined with the classical genre of opera and the symphonic orchestra.

The article analyzes the dramaturgical features of the opera, for which two factors are essential: the content, and the peculiarity of the melody. The intonational structure is quite unique, causing the overall melodic environment to be unique as well. The component of the rhythm and the orchestration of the opera are also very interesting and meaningful. Each instrument or instrumental group is justified and used with reason.

Therefore, we can assert that Aleksandr Harutyunyan’s opera is a masterpiece not only within the framework of Armenian national operatic art, but in musical culture worldwide.

On the Occasion of the 175th Anniversary of his Birth

Summary

Anna G. Asatryan
T. Chukhajyan, who had received formal musical training and mastered completely the technique of European composing was among the first Eastern musician who tried to find a way of bringing Eastern and Western musical culture closer together; he brought his own Eastern musicality to the complicated genres of opera, symphony and chamber music.

T. Chukhajyan placed the foundations of the Armenian classical professional school of composing. He authored the first examples of Armenian romance, i.e. “Karun,” “Lora,” and the first piano opuses in Armenian reality.

T. Chukhajyan was the founder of the Armenian musical theater. It was through his activity that the beginnings of Armenian musical theater in the second half of the 19th century were conditioned. Not only did he set the foundations for Armenian operatic music, but with his six operas, the historical romance, “Arshak II,” the triad of comedic operas, “The Cunning of Arif,” “Kyose Kehyan,” and “The Father and Son Leblebij,” the patriotic “Indiana,” the mythological “Zemyre,” he set into motion the first stage in the development of Armenian musical theater.

The creation of the first Armenian opera was accompanied by the creation of the musical theater. T. Chukhajyan understood the necessity for a national theater of opera in the 1870s. The “Ottoman Opera Theater Group,” under the leadership of T. Chukhajyan and T. Galemjyan, was the first musical theater group composed completely of Armenian artists in Armenian reality (the theater group was the first in the entire Middle East). They had the monopoly in directing the musical productions.

The author places great importance on the production of T. Chukhajyan’s operas at the A. Spendiaryan National Opera and Ballet Theater, the establishment of the Tigran Chukhajyan Museum in Yerevan and also the publication of the composer’s complete collection of works.